【作者】 李荣秀；

【导师】 郑春；

【作者基本信息】 山东大学 ， 中国现当代文学， 2009， 博士

【摘要】 “五四”热潮的高涨与衰退、轰轰烈烈的大革命、八年抗日战争、三年解放战争,现代作家们在时代的激流里走过了三十年,1949年新中国的成立成为他们人生和创作的又一个转折点。建立人民共和国、共产党成为执政党,对包括五四以来接受过现代国家制度和现代科学的知识分子在内的所有人来说,这无疑是一场空前重大的历史变革。面对建国后大至社会制度和体制的变革、社会环境的变化、文学规范和出版制度的调整,小到个人身份、地位、生活的变化,正值中年的现代作家们,在适应环境和转变自我方面都作出了很大的努力,他们一生的创作和生活因此被分成了差别较大的两段。本论文选取了丁玲、赵树理、茅盾、老舍、沈从文五位作家,着眼于他们整个创作过程,重点论述建国后的发展变化,在个案分析的基础上探讨现代作家建国后的成败得失,思索一代作家留给我们的启示。丁玲是五四时期走上文坛的女作家之一,与许多同时代女作家创作的“短命”相比,她的创作一直持续到生命的终点。在她六十年的创作之路上,丁玲给中国现代、当代甚至国际文坛带来了许多震惊和轰动。《莎菲女士的日记》震撼了二十年代后期的文坛,《水》是丁玲三十年代转向左翼文艺后的标志性作品,成为当时左翼文艺界注视的焦点。1936年,丁玲坚持到延安、上前线,决心为革命“做好一名小号兵”。随着对延安生活的深入了解,初来时的兴奋渐渐变为深沉的思索与深刻的社会批判,她写下了《在医院中》、《“三八节”有感》等暴露性作品;延安整风之后,丁玲对自己过去的作品和思想认识作了批判,文学观念、创作风格都发生了很大变化,创作了《田保霖》、《太阳照在桑干河上》等作品。建国后,丁玲希望专职创作的计划未能实现,成了忙于行政事务的领导干部。“文革”结束后,从复出文坛到她去世的七年,丁玲再次铸就了一道短暂又纷纭复杂的风景。历尽磨难的丁玲不喜欢“伤痕文学”一类“哭哭啼啼”的作品,她心仪的是《杜晚香》这类能给人鼓舞、催人上进的作品。她写散文、回忆录、文论,倾力创办大型文学刊物《中国》。刚刚摘掉“右派”帽子的丁玲,不知不觉间被冠以“左派”的桂冠。真“左”假“左”的争论、解决“历史问题”的一波三折使丁玲最后的岁月并不平静。丁玲永远地走了,但学界围绕其人、其文的争论却在继续着,人们对丁玲创作、生活的思索仍然在继续着。赵树理的一生画出了一条默默无闻——戏剧性走红——达到高峰——渐趋暗淡——过早陨落的生活和创作的抛物线。他的一举成名,与文艺界肯定他的创作成功实践了《在延安文艺座谈会上的讲话》有密切关系,带有将其树为解放区本土成长起来的作家代表的强烈功利性。这种功利性使赵树理被急切地经典化,遮蔽了《小二黑结婚》与《讲话》孰先孰后的真相,使赵树理在享受成名的荣耀时难免尴尬。建国后,赵树理变得“看得多”、“写得少”,有近三年没有写东西。他曾为响应多写反映工人题材的号召而试图改变自己主要写农村题材的局面,但并不成功,只好“折回来走农村的熟路”,创作了《三里湾》。此后,赵树理迎来了一个短暂的创作高潮,或整理旧作、或创作反映现实的新作。赵树理是作为农民在生活着,设身处地为农民着想、真正关心农民的生活和利益,对农民的热爱和对农村现状的忧虑使他超越了自己的作家身份,直接“参政议政”、大胆谏言,写下数万字的《公社应该如何领导农业生产之我见》。在复杂的政治运动中,历经磨难的赵树理发出了“我是农民中的圣人,知识分子中的傻瓜”的慨叹。“文革”期间,这位实践《延座讲话》的典范型作家被批评为反对毛主席文艺思想的“黑作家”,不久被折磨致死。茅盾建国前是个多产的作家。五四退潮后,茅盾曾消沉过、迷茫过,他从文学理论研究转向文学创作。从《蚀》三部曲到《子夜》,茅盾的思想和创作随着时代的发展而发展变化,艺术上也日臻完善。抗日战争时期,茅盾逐渐倾向共产党,到建国前一直坚持在国统区开展文艺工作,在大后方艰苦的生活、动荡的环境下创作了《腐蚀》、《锻炼》等及时反映抗战期间发生的历史事件的作品。新中国成立前夕,茅盾中断手头的创作,北上解放区。沈部长的官衔、新的时代、新的文学规范,建国后茅盾的创作不知从何入手了。他为自己日益萎缩的创作状态感到忧虑,但几次创作努力都未见成效,“文化部长”最终未能再圆创作梦。建国后,茅盾的小说创作歉收,文学评论和理论文章、古体诗词创作是他思考文艺问题、抒发个人胸臆的文学表达。“文革”后期,在家闲居无事,创作的念头再次激起,他开始秘密续写《霜叶红似二月花》,但续写工作没有全部完成。在生命即将结束的时候,回首自己的一生,病危中的茅盾让儿子代笔写了两封信,表达了他的两个要求和心愿。一封信是写给党中央的,署名沈雁冰,请求中央审查他一生的功过,并追认他为党员;另一封信是写给作协的,署名茅盾,信中表达了他捐稿费25万元作为长篇小说的文艺奖金基金的愿望。与革命作家丁玲、实践《延座讲话》的经典作家赵树理、国统区进步作家代表茅盾等作家相比,老舍、沈从文等“自由主义”作家建国前后经历了较大的思想波澜。老舍的创作始于国外。1924年他到伦敦大学东方学院任教,身居异国,思乡、寂寞之情难以排遣,于是提笔创作。二十多年后,当新中国宣告成立时,老舍正在大洋彼岸的美国“苦写”,新中国成立后好几个月,老舍才从国外归来。老舍回国后迅速成为新政权下的“红人”——担任多个行政职务,创作多产而又广受好评,不仅因《龙须沟》而获得“人民艺术家”的殊荣,而且以《茶馆》达到建国后创作的顶峰。老舍建国后的创作思想演变和1930年回国后到抗战时期的发展变化过程相似。1930年回国后,目睹国内的现实生活,老舍决定放弃早期的“幽默”风格,《月牙儿》、《骆驼祥子》显示了老舍严肃的现实主义创作的成功,也标志着他的创作逐渐走向顶峰。抗战爆发后,老舍开始写鼓词、坠子、相声等大众通俗文艺作品,并创作剧本宣传抗日。1941年后,他不满于这些“全无是处”的功利性创作,想从抗战宣传返回文学本位、从话剧为主的创作返回到小说创作。长篇小说《火葬》的失败没有使他气馁,建国前他完成了《四世同堂》这部思想性和艺术性俱佳的“大部头”。在老舍那里,他首先看重的是“能写”,无论是“幽默”式的“玩玩”,还是功利性的宣传、“赶任务”,还有抗战时和建国初两度从小说转向戏剧都是为了先实现“能写”的最低要求。当他获得了“写”的权利后,他又不止于此,开始追求作品的艺术性,抗战后期和六十年代两次由戏剧转向小说即是如此。“文革”初,老舍不堪忍受红卫兵的侮辱投湖自尽。老舍之死引起了国内外强烈而持续的关注。国外在老舍去世数月后即对老舍之死进行报道,许多作家、学者纷纷著文缅怀。在国内,老舍之死经过了“文革”期间的遮遮掩掩甚至一度丑化歪曲后,在新时期引起学界浓厚的兴趣,“老舍之死”已成为一个研究课题,让感兴趣者为之孜孜不倦,并喜结硕果;“老舍之死”也成为“创作题材”进入到其他作家笔下的文学作品中,苏叔阳的话剧《老舍之死》、汪曾祺的小说《八月骄阳》都是以“老舍之死”为题材。沈从文这个“乡下人”一贯秉持作家“不介入分合不定的政治”的态度,但“政治”却时时将他卷进来。多年来“左”、“右”都挨骂的沈从文在共产党兵临城下时,面对国共两党的争夺,经过激烈的思想斗争,最终选择了留下。这样的决定,有为孩子和家庭的功利考虑,也有对今后靠创作为生的坚强自信,更是知识分子的爱国精神使然。虽然做好了“含笑上绞架”的最坏打算,但形势的发展还是超出了他能承受的极限。紧张、焦虑、无所适从将他推向疯狂,他甚至试图结束自己的生命。平静下来之后,他选择了“改行”。1949年把沈从文的一生分成了两段——文学创作与文物研究。远离了文坛,又不能自己地关注着文坛;整日埋头于坛坛罐罐、花花朵朵,却情不自禁地提笔创作。文学和文物成为他不可缺少的“双履”。曾经的伤痛、自身创作的困境使沈从文难以再找回当年的创作才情,面对搜集来的数十万字的资料,他力不从心,只能搁笔兴叹,又回到文物研究工作。令人欣慰的是,沈从文丰硕的文物研究硕果累累,一定程度上弥补了他建国后几乎没有新作的遗憾。丁玲、赵树理、茅盾、老舍、沈从文既是庞大的现代作家队伍中普通的成员,又是独具标志性意义的“这一个”。他们为研究现代作家建国后的思想、创作提供了不同的类型代表。五四退潮后,有的作家在抗战期间到达延安等解放区,思想和创作从此开始转变,兴奋——失落——忏悔——改造是这部分作家典型的思想发展历程。经过了延安整风,许多作家实现了脱胎换骨式的改造,成为解放区文艺力量的一支。对许多一直呆在国统区、大后方的作家来说,他们思想、创作的变化大致从新中国成立前夕开始。面对即将建立的新政权、对共产党缺乏认识的自由主义知识分子和作家充满了疑惑、忧虑,思之再三,有的忍痛南下,有的挥泪去国,更多的是选择了留下,投身到新时代中。1949年之后,殊途同归的各路作家们跨到了新的时代,开始了人生的又一段征程。许多解放区作家走上新中国文化事业的领导岗位。国统区作家中虽也有许多人受到新政权的欢迎和重用,但他们在担任领导职务的同时又进行自我批判。整风运动的掀起,使处于不同地位的作家们认识到继续进行思想改造的必要性,随着“极左”政治的愈演愈烈,许多作家都受到冲击。现代作家建国后的创作呈现出较大差异,既有丁玲、茅盾等基本没有新作问世的作家,也有老舍这样创作多产且不乏杰作的作家,而沈从文、钱钟书这样的“转业”人员也不少。除了种种差异,建国后现代作家在否定和修改旧作、留下许多未完成之作等方面表现出许多共性。单个作家的创作历程和生活道路也许不无偶然性,但作为一个整体,现代作家建国后的一切又包含无限的必然性。总体而言,现代文学作家建国后的创作难尽人意,导致这种现象的原因是非常复杂的,既与建国后社会环境、文学环境等客观因素有关,也与作家本身的思想和性格弱点有关。我们梳理现代作家建国后的思想和创作发展变化历程,既要达到对作家其人、其文乃至文学史更深的认识,更要总结、吸取其中的经验、教训,为现在和未来的文学提供良好的借鉴。受学识、阅历等因素的影响,笔者在把握和驾驭这一选题时颇有力不从心之感,论文肯定存在许多不足之处。但是,相信凭着研究的热情、探究的勇气、勤奋的工作,本论文能为这一课题的研究提供些许帮助。更多还原

【Abstract】 The modern writers went through the tides of history in over 30 years: the ups and downs of the May 4^th Movement, the great revolution, the arduous Anti-Japanese War, and the Civil War. The establishment of New China in 1949 marked another turning point in their lives and career. The founding of the People’s Republic of China and the ruling of the Communist Party were an unprecedented historical transformation for all those who had accepted the knowledge of modern country system since May 4^th, including the intellectuals. The then middle-aged modern writers made great efforts to adjust to the changes in both environment and themselves: from changes in their own identity, status and lives all the way up to changes in the social system and environment, and the adjustment in literary publishing regulations. Therefore, their career and lives were divided into two distinguishing parts. In this thesis, I choose five writers to analyse: Ding Ling, Zhao Shuli, Mao Dun, Lao She and Shen Chongwen, focusing on the development and changes of their writing in relation to the whole career. Based on individual analysis, I endeavor to discuss the achievements and lessons of modern writers after the founding of the PRC, and to ponder on the enlightenment they brought to us.Ding Ling was one of the female writers who entered the literature world during the May 4^th Movement. Compared with the short-lived career of her contemporary female writers, she never gave up writing until the end of her life. Over her 60-year writing career, she brought great impact and amazement to the Chinese modern and contemporary literature, even international literature. The Diary of Ms. Saffi, one of her early works, impacted greatly on literature world in the late 1920s. In the 1930s her novel Water marked a turning point to left-wing literature, a magnificent event in both her career and the history of literature, bringing her to the limelight. In 1936, Ding Ling went to the front and Yan’an, determined to devote herself to the revolution. With a further understanding of the life in Yan’an, her later works In the Hospital and About Women’s Day revealed her change from early excitement to a deep reflection and severe criticism of the society. After the Yan’an Rectification Movement, Ding Ling reflected deeply on her previous works and thoughts, and went through an utter transformation of her literary views and writing style, resulting in the writing of Tian Baolin and the Sun Shining on the Shanggan River.After 1949,her wish to be devoted in professional writing failed, and Ding Ling became a cadre occupied with administrative affairs. The last 7 years of her life after the Cultural Revolution were full of unrest and disturbance. The weather-beaten Ding Ling preferred such inspiring works as Du Wanxiang to the dispirited "scar literature". She wrote proses, memoirs and essays, and started the literary journal China. Her political stance was changed from the right-wing to the left-wing, the argument about which filled her last days with hardship. Ding Ling was gong forever, while people’s discussion about her life and career was still going on.Zhao Shuli lived a life of ups and downs: he rose from obscurity, gained great fame, and then faded away. His overnight fame was closely connected with Mao Zedong’s Address On Literature And Art. The Yan’an literary circle aimed to set Zhao as a model of local writers, the pragmatic nature of which hid the fact that the novel Xiao Erhei Gets Married had been written before Mao’s address. This inevitably put the famous Zhao Shuli in embarrassment. Facing the new environment after 1949, he was hesitant to write for three years or so. Corresponding to the official appeal, he once attempted to change the theme of his novels from the lives of farmers to that of workers, but in vain. His long novel Sanliwan reflected the movement of collectivization in rural China, which renewed his reputation. Thereafter, Zhao’s career saw a short boom, embellishing his old works and writing new ones to reflect the reality. Zhao Shuli lived as a farmer himself, empathizing with the farmers and concerning himself with the life and interests of them. His love for farmers and anxiety about the rural situation urged him to go beyond his identity as a writer and to participate actively in politics, writing the ten-thousand-word proposal My Opinion about How Commune Should Lead Rural Production. His behaviors seemed pedantic and feeble in the complicated political movements. So he lamented that he was a saint among farmers but a fool among intellectuals. In the Cultural Revolution, he was criticized as a counterrevolutionary writer against Mao Zhedong’s Yan ’an Address, and was tortured to death.Mao Dun was a productive writer before the founding of the PRC, who had been lost and depressed after the May 4^th Movement. Later he turned from the research of literary theories to literary writing. From the trilogy of Shi all the way to Midnight, Mao Dun’s thoughts and writing advanced with the time and became increasingly mature in artistic form. During the anti-Japanese war and the liberation war, Mao Dun grew to be sympathetic to the Communist Party. He carried on with the work of literature in the areas ruled by Kuomintang. Hardened by the hard life and turbulent situation there, he wrote novels such as Corruption and Exercises to depict the historical events in the anti-Japanese war.On the eve of the founding of New China, Mao Dun’s writing was suspended. He went up to the liberated areas in the north. After the self-criticism of the faults and defects of art and literature in Kuomintang-ruled areas at the first Congress of Art and Literature, he was appointed as the first Minister of Culture of the New China. The title of minister, the new age, and the new literary rules left Mao Dun at sea about how to write. Anxious about his disappearing inspiration, Mao Dun attempted to resume writing in several cases, but failed. The writing dream of the "Cultural Minister" ended up in vain, his novels after 1949 amounting to little. He pondered over the literary issues and expressed his personal feelings in the forms of literary critical articles, theoretical articles and archaism poetry. In the late Cultural Revolution, ungratified with the idle life, he decided to write a sequel to his previous novel Autumn Maple Leaves as red as the February Flowers secretly, which was not completed. In his last years after the Cultural Revolution, he seized the day to write the memoir My Past Way, which left lots of valuable historical materials to the later generations. At the end of his life, Mao Dun looked back on his own life and dictated two letters to express his appeals and wishes. One letter signed with Shen Yanbing was sent to the Central Committee of the Party, pleading with them to examine his merits and demerits in life, and to recognize him posthumously as a party member. The other letter signed with Mao Dun was addressed to the Association of Writers, donating his 250-thousand remuneration as a literary fund for long novels.Compared with the revolutionary writer Ding Ling, classic writer Zhao Shu Li, and progressive writer Mao Dun, Lao She and Shen Chongwen,the liberalist writers, underwent dramatic changes in their thoughts around the founding of the PRC.Lao She’s writing career originated from overseas. In 1924, he went to teach in the Oriental College, London University. Alone in a foreign country and stricken by home-sickness and loneliness, he decided to take up pen and began writing like his friend Xu Dishan. Twenty years later at the founding of the PRC, Lao She was still far away in America and he didn’t come back until a couple of months afterwards. Lao She quickly gained popularity with the new government. He held several administrative posts, wrote productively and received wide reputation. His dramatic work Dragon Beard Ditch won him the honorable title of "the people’s writer", and Teahouse marked the peak of his writing career.The change of Lao She’s literary thoughts after 1949 was similar to that from his return to China in 1930 to the anti-Japanese war. When he came back from overseas, Lao She decided to abandon his humorous style in such novels as the Philosophy of Lao Zhang, Zhao Zi Said..., and Two Ma’s, to adjust to the reality in China. His Crescent Moon and Luotuo Xiangzi finally marked the success of his realist writing and the peak of his novel writing. At the beginning of anti-Japanese war, he took up some popular literary forms, for instance, Guci, local operas, and cross talk. He also wrote many dramatic works to support the anti-Japanese war. He came to be discontented with the "worthless" utilitarian writing since 1941. He thought about the return from wartime propaganda to literature itself, and from dramatic writing to novels. Undiscouraged by the failure of his long novel Cremation, and inspired by his wife’s description of the life in Beijing and his own memory of Beijing, he produced his most classic novel Four Generations Under One Roof. Apparently, Lao She attached great importance to productivity, which was the basic element underlying his writing for fun, completing political tasks of utilitarian propaganda, and two turnings from novels to dramatic writing. The two turnings demonstrated his discontent with mere productivity and his pursuit of artistic value.At the beginning of the Cultural Revolution, he commited suicide jumping into the lake, no longer able to endure the insult of the red guards. His death drew intense and enduring attention from both home and abroad, owing to its distinctive meaning and value. Several months later,his death was reported abroad and lamented by many writers and scholars. Over the Cultural Revolution,the fact of Lao She’s death was once concealed and even twisted. Whereas, it became the center of attention in the academic circle of the new age,and saw friutful consequences as a research subject. It also entered other writers’ literary works, for example, the dramatic writing The Death of Lao She by Su Shiyang and the novel The Blazing Sun in August by Wang Zengqi. As a writer, Sheng Chongwen the "countryman" stuck to the attitude of "avoiding politics", but he kept being involved in politics. For years Sheng had been criticized by both the left-wing and the right-wing. On the eve of the founding of the PRC, faced with the competition of the Communist Party and Kuomintang, he finally chose to stay in the mainland after a severe inner struggle. The dicision was based on his firm confidence to make a living by writing as well as his consideration for the welfare of his children and family. Though prepared for the worst consequence of being killed, the deterioration of the situation was still beyond him. Anxiety, stress and confusion were driving him so crazy that he attempted to commit suicide. Having calmed down, in 1949 he decided to get away from the literary world to take up the research of cultural relics. But he still kept a close eye on literature and sometimes even resume writing. Jeopardized by his previous trauma and the dilemma in career, he never retrieved the inspiration of writing. Fortunately, his research of cultural relics made up for the regret and left valuable achievements to later generations.As modern writers, Ding Ling, Zhao Shuli, Mao Dun, Lao She and Shen Chongwen are unique as well as common, serving as models of various thoughts and writing styles of modern writers after 1949. The writers who went to Yan’an and other liberated areas in the anti-Japanese war all went through such a typical mental process: excitement, sense of loss, confession and rehabilitation. Through the Yan’an Rectification Movement, many writers were utterly transformed to become part of the power of art and literature in liberated areas. Many writers who had stayed outside the liberated areas began to undergo a transformation of mind and writing from 1949. Before the founding of the new power, liberal intellectuals and writers were filled with uncertainty and anxiety towards the Communist Party. Having thought twice, some of them chose to went to Taiwan, others went abroad with a heavy heart, but even more of them decided to stay and be devoted to the new age. Since 1949, a variety of writers gathered in the new era and set out on a new journey of life. Many writers in liberated areas became "old cadres" and leaders in the new China’s cultural cause. Though some of the writers in Kuomintang-ruled area were also welcomed and put in important positions,they felt so unrest and uncertain that they kept carrying on self-criticism. From the enforcement of the extreme left politics to the Cultural Revolution, the hierarchical system of writers gradually disappeared, resulting in their common desperate situation. Great discrepancy were witnessed between the modern writers after 1949. There were unproductive writers such as Ding Ling and Mao Dun, productive writers such as Lao She, and "rehabilitated" writers such as Shen Chongwen and Qian Zhongshu. Apart from these varieties, they also shared common points in denying and devising their old works, and leaving unfinished works. The career and life of each individual writer may develop by chance, but what happened to the writers as a whole after 1949 had infinite inevitability. In general, the modern writers’ work after 1949 proved unfruitful, which were caused by various elements connected not only with the social and literary environment after 1949, but also with the weakness of the writers’ mind and character. To sort out the development of modern writers’ thoughts and writing, we need to gain a deeper understanding of the writers, their works and even the history of literature. Furthermore, we have to summarize and absorb their experiences and lessons, so as to use them for reference in the present and future literature.Restricted by many factors, such as knowledge, social experience, I can’t master this topic well .There may well be some drawbacks in the thesis. However, I believe, under the research passion ,courage and hardwork, my thesis may be helpful to advance this topic.更多还原